{"id":96783,"date":"2025-02-19T05:09:31","date_gmt":"2025-02-19T05:09:31","guid":{"rendered":"https:\/\/peraltafinancing.com\/ambient-music\/coraline-ada-ehmke-disquiet\/"},"modified":"2025-02-19T05:09:31","modified_gmt":"2025-02-19T05:09:31","slug":"coraline-ada-ehmke-disquiet","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=96783","title":{"rendered":"Coraline Ada Ehmke \u2013 Disquiet"},"content":{"rendered":"


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This Junto Profile is part of an ongoing series of short Q&As that provide some background on various individuals who participate regularly in the online Disquiet Junto music community.<\/em><\/p>\n

What\u2019s your name?<\/strong> Coraline Ada Ehmke. I also record under the name Sudre\u2019s Violin and, previously, A Little Fire Scarecrow.<\/p>\n

Where are you located?<\/strong> I live in Chicago \u2014 technically, across the street from Chicago\u00a0\u2014 which is a city full of music and art and culture. No place feels like home exactly, but I\u2019ve been here longer than anywhere else so I guess this counts.\u00a0<\/p>\n

I came here when my daughter was just over a year old, and I was just getting started in my tech career. After she was born, I had to make a transition from living in Austin, Texas, where I was primarily playing live in bands, to being a parent in Chicago with only occasional time for music, now spent recording in brief and scattered bits of free time. I went from thinking about songs to thinking about albums, and really started taking my time with things. That\u2019s how I spent a lot of years.<\/p>\n

Now my daughter is grown, but the recording albums habit has stuck. That said, I\u2019ve got a new project going now \u2014 called The Disaster Society \u2014 which will be performance-based. So I\u2019ll have a chance to contribute back to some of that music and art and culture that I love so much here.<\/p>\n

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What is your musical activity?<\/strong> Today, I would call what I do a studio practice. It took some time for me to come to terms with considering my own work \u201cart\u201d, but once that happened I started taking it more seriously and pursuing music with more purpose and discipline. I have blocks on my calendar twice a week for dedicated, no-interruption studio time, on top of whatever free time I can find. The Disquiet Junto has been great for keeping me on a schedule, too.<\/p>\n

I tend to organize my musical activities into different projects, each with its own constraints and context. Sudre\u2019s Violin is the container for my (mainly) instrumental postpunk stuff, produced to create the illusion of a consistent musical lineup with consistent instrumentation. There\u2019s the Drone Day project, \u201cGangs of Ireland\u201d,\u00a0 which is a five-year sort of thing inspired by an interview segment on Irish TV in the early \u201980s. And there\u2019s always some sort of one-off project going as well.<\/p>\n

What is one good musical habit?<\/strong> In my music (and in my life I guess) I like to leave plenty of room for serendipity. I regularly browse Wikipedia for rabbit holes, either technical or philosophical or metaphorical, and write down what I find. I also keep ambidextrous spiral notebooks, writing in one direction for specific projects, and abstract techniques or ideas in the other.<\/p>\n

What are your online locations?<\/strong> I\u2019m on Bluesky (bsky.app\/profile\/coralineada.bsky.social<\/a>) for professional stuff, and Mastodon (ruby.social\/@CoralineAda<\/a>) for personal and music stuff. Everything I do goes up on Soundcloud (soundcloud.com\/coralineada<\/a>), and I highlight the interesting bits on nosignal.zone<\/a>. During the quarantine years I streamed live from studio on twitch, so there are a bunch of production videos up on YouTube at youtube.com\/@livemusicproductionwithcor3585<\/a>.<\/p>\n

What was a particularly meaningful Junto project?<\/strong> My voice has always been problematic for me. I just can\u2019t sound the way I want to sound and it really upsets me sometimes. I used to try to sing anyway, but I found that even if I didn\u2019t hate it in the moment, I would hate it two months later when I heard it again. I had to come to terms with the fact that I just do not have a viable singing voice, and that led me to focus on instrumental music.\u00a0<\/p>\n

But one alternative that I\u2019ve turned to in some pieces, including several of the Disquiet Junto pieces, is using AI-driven text-to-speech to create custom spoken vocals. I like what I\u2019ve been able to accomplish with them just fine, but. But.<\/p>\n

Then came Disquiet #0681<\/a>, in which we were invited to turn a walk or run into something dramatic, like a scene in a thriller. I wanted to avoid the trope of a woman alone being followed at night, so I went with a story about the vengeful ghost of a hitchhiker. For story as well as aesthetic reasons, I needed the hitchhiker to be singing \u201cWalkin\u2019 After Midnight\u201d to herself as she stalked along the highway looking for her next victim. I didn\u2019t really think about it. I put on headphones, grabbed a mic, and played a part. I sang without making it about singing. I wasn\u2019t trying to sing well or sound a certain way; I was just playing a part.<\/p>\n

That was pretty transformative, and it\u2019s inspiring me to find other ways to incorporate my natural voice into my work.<\/p>\n

The track is here, and it would be criminal to listen without headphones: <\/p>\n

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